FRED Film Radio - English Channel

Fred Film Radio had the privilege of interviewing Robert Kolodny, the talented director behind the inspirational film “The Featherweight.” The film in the section Orizzonti, set in 1964 and follows the captivating journey of Willie Pep.

In our interview, Robert Kolodny revealed a profound personal connection to the film’s narrative, citing the song of Lou Reed, Heroin. This connection served as a driving force throughout the project.

Kolodny’s primary aim was to authentically capture the need of the ex champion, a task he executed with finesse, making “The Featherweight” stand out in the world of cinema. When discussing the challenges faced during the production and shooting of “The Featherweight,” Robert Kolodny emphasized the fact that he shot the film in only eighteen days. These challenges ultimately contributed to the film’s unique character.

When it came to selecting the right equipment for shooting “The Featherweight,” the team faced budget constraints that made shooting the entire film on celluloid impractical. Instead, they opted to shoot most of the film on the ARRI Alexa camera, which offers a 16mm crop mode. This allowed them to use period-appropriate 16mm lenses, creating an authentic visual style for the core scenes set in the 1964 present tense. The boxing scenes set in the 1940s were shot on 16mm and Super 8 film.

To enhance the authenticity of the film, the team also integrated real archival footage, painstakingly matching the stock, grain structure, emotional tone, color, and contrast between different formats. Archival footage was incorporated into scenes set in Madison Square Garden, particularly audience shots. To achieve this effect, the team filmed the scenes in a small boxing gym with black curtains in the background.

The use of archival footage in “The Featherweight” extended to scenes within Madison Square Garden that did not feature specific characters like Willie Pep, Bill Gore, or Chalky Wright. Additionally, any scenes showing an audience were composed of archival footage. These sequences were integrated by using clever visual techniques to blend the live-action shots with the archival material.

One notable example is during the first fight in the film, Willie Pep vs. Chalky Wright. Since Willie Pep was supposed to be in his twenties during that time, the team had to address the challenge of making the 45-year-old actor, James Madio, appear younger. They devised a creative DIY method to de-age the character in post-production. This involved taking stills of James Madio’s face from relevant shots, digitally de-aging those stills in Photoshop, and using frame interpolation to rotoscope and mask the de-aged face onto the rest of the footage frame by frame.

“The Featherweight” employs an abundance of close-up shots throughout the film. The director, fascinated by the intricacies of the human face, believed that a prolonged focus on a character’s face could bring out genuine emotions and reactions. Close-ups, in this documentary-like context, allowed the actors to become increasingly uncomfortable, performative, or emotional as the shots lingered.

The film’s editing process was a collaborative effort between the director and editor Robert Greene. Their partnership was marked by extensive philosophical discussions and meticulous decision-making. Robert Greene’s expertise in nonfiction editing played a crucial role in shaping the film. Their editing sessions sometimes lasted up to sixteen hours, guided by a commitment to maintaining the film’s authenticity.

The director of “The Featherweight” also played a role within the film, a decision made to simplify the production process by eliminating the need for an additional on-screen character. Although initially considered for voice replacement, the director’s voice remained in the final cut. The director adopted the persona of “Herman Zupan,” interacting with the characters as if he were a real filmmaker. This approach added a layer of authenticity to the film, as actors could engage with the director in-character, enhancing the realism of their performances.

Each character in the film had distinct motivations for allowing the filmmakers to follow them. For Willie Pep, it represented a chance at a comeback and a return to the spotlight. Linda saw it as an opportunity for stardom, while Billy, Willie’s son, viewed it as a means to create chaos and challenge his father. These motivations led to evolving relationships and shifting dynamics among the characters. The film’s documentary crew, despite their objective role, was not immune to subjective fallibility and occasional disregard for boundaries.

The presence of the documentary crew added complexity to the film’s narrative, making it as subjective and unreliable as any other character’s perspective. The allure of fame and the warmth of the spotlight remained irresistible, even as the characters grappled with their evolving relationships with the camera.

The post “The Featherweight”, interview with director Robert Kolodny appeared first on Fred Film Radio.

Interview during the 80th edition of Venice International Film Festival with Kirk Petruccelli, production designer of the film out of competition “The Caine Mutiny Court-Martial”, directed by late William Friedkin. The movie is based on the play by Herman Wouk, that led to a classical film in 1954 starred by Humphrey Bogart.

During the conversation, the production designes remembers his work with Mr. Friedkin (famous by ‘The exorcist’ or ‘French connection’), how they chose the look of the main set of the film and how he worked with the director of photography and the costume designer to build the classical feel of the movie.

“The Caine Mutiny Court-Martial” depicts a military trial against an officer that forced the captain of his ship to step down in the middle of a cyclone. Kiefer Sutherland, Jack Lacy and Lance Reddick are some of the stars in the movie, that revolves around the trial room and will be available in Showtime and Paramount+.

The post “The Caine Mutiny Court-Martial”, interview with production designer Kirk Petruccelli appeared first on Fred Film Radio.

Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.

In this first episode of Global Critics Venice Voice Rita Di Santo hosts Doctor Vera Dika (film critic and professor of Cinema Study) and Brian Viner (The Mail), and they discuss together about the films screened in these days, “Pet Shop Days”, “The Killer” and “La Bête (The Beast)”.

The post Highlights and film critics from the 80th Venice Film Festival – episode 4/09 appeared first on Fred Film Radio.

Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.

In this first episode of Global Critics Venice Voice Rita Di Santo hosts Kaleem Aftab (director of Red Sea Film Festival, film critic, member of UK Critics’ Circle and border of Golden Globes), and they discusse together about the films screened in these days, “Maestro”, “Adagio” and “Die Theorie Von Allem”.

The post Highlights and film critics from the 80th Venice Film Festival – episode 3/09 appeared first on Fred Film Radio.

The post Fishbowl Conversation: AI impacting production and creative workflows appeared first on Fred Film Radio.

“Impunity made him eternal and that eternity is the vampire”, this is how director Pablo Larraín explain the genesis of his 10th film, “El Conde“, presented in competition at the 80th Venice International Film Festival. After Jackie and Spencer, also premiered in Venice (and Ema) Larraín goes back to depicting his Chile as the film imagines general and dictator Augusto Pinochet as a vampire in an existential crisis where he must decide if it is worth continuing his life as a vampire, drinking the blood of his victims, and punishing the world with his eternal evil. Through the language of satire and political farce, the film manages to not infuse empathy or compassion towards a dictator who never faced justice for his crimes. As producer Juan de Dios Larraín points out, they  hope the film will show people what kind of things should never happen again since it is an allegorical reminder of why history needs to repeat itself in order to remind us of how dangerous things can become.

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Interview during the 80th edition of Venice International Film Festival with Annabelle Dunne, producer of the film out of competition “The Caine Mutiny Court-Martial”, directed by late William Friedkin. The movie is based on the play by Herman Wouk, that led to a classical film in 1954 starred by Humphrey Bogart.

During the conversation, the producer remembers her work with Mr. Friedkin (famous by “The exorcist” or “French connection“), how he built up this production after re-discovering the play. She tells us his method of shooting only one take with the actors and how he told them to stay off the book with their lines. The director passed away last August.

“The Caine Mutiny Court-Martial” depicts a military trial against an officer that forced the captain of his ship to step down in the middle of a cyclone. Kiefer Sutherland, Jack Lacy and Lance Reddick are some of the stars in the movie, that revolves around the trial room and will be available in Showtime and Paramount+.

The post “The Caine Mutiny Court-Martial”, interview with producer Annabelle Dunne appeared first on Fred Film Radio.

Interview during the 80th edition of Venice International Film Festival with Mark Bridges, costume designer, Yannick Nézet-Séguin, conducting consultant, and Kevin Thompson, production designer, of the film in competition “Maestro”, produced, directed and starred by Bradley Cooper. He plays the role of composer Leonard Bernstein, and Carey Mulligan plays opposite to him as his wife Felicia Montealegre.

The interview begins with these three heads of department speaking about their work with Cooper, specially Nézet-Séguin, who had to teach the director and actor how to behave while conducting an orchestra. Bridges talks about the iconic garments wore by Bernstein during his life and Thompson about shooting this film in the real home of the family.

“Maestro” is the second feature film directed by Bradley Cooper and depicts several years of the relationship and marriage of the Bernsteins. It is not a portrait of the musical creative process of the masters, but a recount of how he lived his bisexuality while sustaining a marriage with his wife.

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FRED Film Radio had the privilege of conducting an interview at the 80th Venice International Film Festival with Nehir Tuna, the talented director behind the thought-provoking film Yurt, in section Orizzonti. Set in 1997, against the backdrop of increasing tensions between religious and secular Turks, “Yurt” tells the compelling story of Ahmet, a fourteen-year-old boy sent to an Islamic dormitory to learn Muslim values.

Ahmet strives to be the perfect son, but he faces difficulties fitting in with the rough kids at the Yurt while also keeping his new home a secret from his secular school classmates. His only solace is his friendship with Hakan, a street-smart kid who knows how to navigate the Yurt’s complex system. Together, they dream of making their own choices.

In an interview, Nehir Tuna shared a personal connection to the film’s narrative. He mentioned spending five years in a religious boarding school during his childhood, an experience that left a lasting impact. He vividly recalls moments of longing as He watched his parents’ everyday activities from afar, waiting for the simple comfort of their presence.

Nehir Tuna aimed to capture the isolation and pressure that Ahmet faces as he struggles to meet his family’s expectations while seeking a sense of belonging. The film skillfully transcends the macro-political struggle between religiosity and secularism, focusing on the individual experiences of its characters.

When asked about the challenges of producing and shooting “Yurt“, Tuna highlighted the difficulties they faced in securing funding, having been denied state aid multiple times. Despite these obstacles, the team’s determination led them to gather support from friends and raise funds internationally, demonstrating their commitment to bringing this powerful story to life.

One amusing anecdote shared by Tuna involved being denied authorization to shoot in a perfect location they had found for the boarding school scenes while making a short film related to “Yurt“. The denial was based on the absurd premise that no one in a religious boarding school could commit such a “sinful” act as stealing shoes. This incident illustrates the absurdity that can exist within such closed-off institutions.

Tuna clarified that “Yurt” is not intended as a direct criticism of religion in Turkey. Instead, it delves into the pressures and isolation that students at these institutions face, despite the rigid standards of purity expected from them.

One of the notable artistic choices in the film is its shift from black and white to color. Symbolically, black and white represent the uncompromising nature of life within the boarding school, where everything is viewed as either purely devout or completely secular. Colors enter the story as Ahmet and Hakan run away and experience newfound freedom, reflecting their liberation from the confines of the Yurt.

The film’s setting in 1996 allows for a historical perspective on the tensions between religious and secular forces in Turkey. While the dynamics have shifted in the years since, the enduring existence of schools like the one portrayed in “Yurt” highlights the ongoing struggle faced by individuals like Ahmet.

Regarding the relationship between Ahmet and Hakan, Tuna described it as multifaceted. Ahmet’s search for love encompasses love for his father, a classic romantic interest, and a deep friendship with Hakan, whom he views as both a role model and a brother. These complex layers make Ahmet’s character rich and relatable.

As for Ahmet’s future, the film suggests that he will continue living in the boarding school but has grown in many ways, adopting elements of Hakan’s character and his lust for freedom.

In conclusion, “Yurt” is a film that explores the personal struggles of its characters within the backdrop of a changing Turkey. Nehir Tuna‘s personal connection to the story adds depth and authenticity to the narrative, making it a compelling cinematic experience.

The post “Yurt”, Interview with director Nehir Tuna appeared first on Fred Film Radio.

Every day from the Venice Lido, Rita Di Santo hosts in the studios of FRED Film Radio several film journalists and film critics who will comment on the films in Competition and Out of Competition, the actors and actresses attending the festival, as well as take you into the magical atmosphere of the Venice Film Festival.

In this first episode of Global Critics Venice Voice Rita Di Santo hosts Brian Viner (The Mail), Ieva Sukyté (film critic from Lituania) and Volodymyr Chernyshev (Feulleiton Media), and they discusse together about the films screened in these days, “Poor Things”, “Finally Down” and “The Palace”.

The post Highlights and film critics from the 80th Venice Film Festival – episode 2/09 appeared first on Fred Film Radio.